Meetings at Twilight: Kimi no Na Wa

Written by Moosh Reyes | 161690

Kimi no Na wa was a very intimate experience for me to watch for this class. I am a big fan of animation in general but this was my first anime film outside of the Pokemon franchise and Studio Ghibli films. That being said, Kimi no Nawa definitely changed the game in terms of how animated films would be seen by the general public. Before this film came out, most of the films that had surmounted this amount of success would be from the founder of Studio Ghibli, Hayao Miyazaki with Spirited Away. What allowed Kimi no Na Wa to be such a success? I believe it attributed to a number of factors.

Let’s start with the imagery. The imagery and color palettes were something that caught my eye immediately with its amazing use of modern animation especially for that scene where Taki witnessed Mitsuha’s past. That particular sequence in the film had a different art style adding a very mystical element to it, tones of purple and blue were used in the scene which enhanced the dreamy and mystical experience. Anime was always able to make the viewer feel the environment that the characters were in and this movie is no exception. This is especially shown in the comet scenes. First, we have Taki in the city watching the comet from the rooftop with wonder while the lights of the city would try to compete with the brightness the comet brought about. undefined

Next, we would have Mitsuha watching the comet in a hill above her town that focused mostly on nature rather than the town to accentuate the town’s rather small environment (shown through Mitsuha’s excitement over cafes and such). All of this accompanied with the hauntingly beautiful music by Yojiro Noda made the atmosphere complete and let the audience get the full anime experience. undefined

I don’t think the characters played a big part in the movie’s success considering that they were both one of the mill character types. Taki was a boy from the city who frankly wasn’t sensitive enough until Mitsuha switched bodies with him. This made him consider being more sensitive with others as seen through the way he treats Mitsuha when he first meets her and his relationship with Miki. Meanwhile, Mitsuha was a traditional “doormat” small town girl who wanted to see the city and have something bigger happen to her. When Taki switches bodies with her, Mitsuha becomes more popular. This is when she realizes that she needed to be less of a doormat and to start asking for things herself. What I believe made people fall in love with these characters would be the relationship between these two main characters and how likeable the two are.

The biggest factor, in my opinion, would most probably be the plot. I do not want to spoil the plot to anyone who hasn’t watched so I won’t go into much detail aside from the body switching. (But just in case I screw up, SPOILER ALERT!) The way the movie’s plot worked was confusing for the first few minutes but once Taki goes to the restaurant, everything makes sense. It was a joy to see something that didn’t seem linear in terms of time at first finally piece itself together to make a cohesive timeline for everyone to understand. Understanding each main character’s story was easy enough to understand due to the simplicity of the characters. Perhaps, the simplicity of the characters is what allowed for such a wonderfully complicated plot to be written.

All in all, I found Kimi no Na Wa to be a wonderful film that is able to connect two completely different people and find ways to make one influence the other for the better. Without the body switchings, Taki and Mitsuha would technically only have about 2 encounters with each other. Even then, you could see the chemistry between them because they believed that they encountered one another in a dream or somewhere. The film emphasizes being at the right place at the right time and truly captures that essence.

What’s in store???

After watching Futureless Things, I literally did not know what I just watched. It gave war flashbacks of Schizopolis, where I really did not know where the film was going. Though it is kind of different, in way that you understand what was happening scene per scene, you understand what was being said clearly, you just don’t know what was happening. Though after watching again and a little bit of thinking you would understand and interpret things differently.

The film has numerous protagonists as the story revolves around the clerks at a convenience store and the clerk would differ shift by shift. Each shift offers a different protagonist or character who for some reason all go through bizarre events. It was fit that the setting is a convenience store, because it is a possible setting where all these bizarre characters can actually cross each other’s paths, be it buying something to eat or drink, just enjoying the air conditioning which turned on 24/7, trying to hit on the clerk on shift, or just leaving a mysterious box? We have Seong-Joon who had to look over a mysterious box and eventually was eaten alive by the same mysterious box. Another protagonist, Soo Hee, who went through harassment and discrimination. Each character somehow got taken advantage of by the customers kind of treating them like “things” instead of humans. I think this film kind of took it literally the saying “The customer is always right” maybe that’s why Soo Hee, couldn’t retaliate as much as she could when the customer was harassing her and dissing her for being someone from the North.

The movie has a rollercoaster of emotions. It can be spooky, light, and turn into dark in an instant. I think it has something to do with the store being the only setting, and in a convenience store, you don’t know what will happen next, who will go in next, you literally don’t know what’s in store.

The Barbie Cinematic Universe Through the Years

I was given the freedom to write a review about any movie or show that I wanted, so of course, I saw this as an opportunity to sit down and spend an hour typing out my thoughts on Barbie and her many adventures, but specifically the one in Barbie and Her Sisters in a Great Puppy Adventure (2016).

Barbie movies were a constant in my [pirated] DVD collection. My parents gave me the freedom of handpicking movies for us to bring home every Sunday afternoon. Every DVD cover with a tall, white, blonde animated woman was already in my 6-year-old self’s hands ready to bring it over to my parents. I still remember the feeling of seeing a Barbie movie I know I didn’t already own in our suki vendor’s collection and making my whole family rush to go home for me to watch it.

Obviously, I went on to explore other movies and genres over the years and ended up abandoning Barbie for some time. One bored summer morning, I decided to look up recently released Barbie movies and, because I had nothing better to do, I bingewatched all movies from 2012 to 2017. I’d say I’m pretty experienced with the Barbie movie format and the dilemmas that recur in every single one (I mean, it’s not that hard to figure out as it is a kids movie that’s meant to be inspiring or packed with lessons), but these new ones feel a bit different.

Firstly, the animation was surprisingly really good. I say surprisingly because all the characters in Barbie movies are known to have very stiff movements. Though, I’m not sure if it was a conscious choice all along because these were in reference to the Barbie dolls after all. Either way, it was definitely an improvement. It’s really something to think about — how animation is rapidly developing nowadays and how real the fake can look. Obviously, Barbie doesn’t look too real in this particular movie (I do wish her dogs were actually real, though), but you can still see how they put in the extra work to make the puppies a little cuter and more realistic with their fur and how it reflects light.

The voice acting was still very cliche and over the top, but over time, I learned to look past it if I wanted to enjoy the movie. It is interesting how I now find these movies that were once super inspiring and addictive to movies that actually kill my brain cells. I knew the plots they used were never too complicated or groundbreaking, but for some reason, I thought Barbie and Her Sister in a Great Puppy Adventure would be different because it was made an entire decade after the initial set of Barbie movies I watched. This was a mere compilation of cliches. The antagonists were two men with country accents, one was lanky and another was chubby but they were equally dumb and clumsy. The puppies had collars that already matched their personality. One had a pink collar with silver beads, so it was pretty clear she was the one that Barbie was going to adopt; another had a black collar with spikes, so that was the tomboyish one. The ‘adventure’ part obviously came in the form of a treasure hunt around town. This treasure had the capability of saving the town from closing down or going completely bankrupt, so of course, the sisters took it upon themselves to be the heroes of their story. It was cute, however, how Barbie never spoonfed her sisters throughout their whole hunt. Assuming it’s the same Barbie in all the movies and, at this point, has over 203985 different talents/skills/jobs, one can say she is definitely capable of unlocking all the riddles and clues alone. She was too powerful of a character, so she stepped back and spent time with her best friend, Christie.

Barbie and her friendship with Christie was one of the only things that felt different with this particular Barbie movie. I mean, it’s pretty undeniable that they’re close, but one may think if they’re really just best friends. I guess this is partly due to me watching with my close friends and us making a joke out of the whole thing, but I did see how the two could be girlfriends. Hurray for LGBTQ+ representation in Barbie (Sorry, Ken)! Besides this, it was pretty weird how they were now using tablets and iPhones in the Barbiesphere. Although, it was pretty annoying how they milked the millennial traits of being tech savvy and social media-obsessed. One of the sisters, Stacie, updated her blog in real-time throughout the whole journey and loved a good selfie—but I guess it’s all part of the times. They made use of a metal detector app to find the treasure; I was a little pissed off at this because of how unrealistic and a convenient cop-out it was to not make things too hard, but upon doing more research, those apps apparently exist, and yes, they work.

It’s nice to have Barbie movies like this balance out super heavy ones like BuyBust (2018) or Metro Manila (2018). Clearly, they differ in target markets and genres, but because of its sentimental value and general good vibes, I see them to be staples in my movie collection. Looking past its basic and predictable elements, Barbie and Her Sisters in a Great Puppy Adventure will still be one of my favorite Barbie movies. This is not only because of my experience watching with friends, but because it allowed me to keep in touch with my childlike side while also reminding me of how simple life used to be and still can be. To be able to enjoy the movie, you really have to let go of all technical errors and criticisms and—essentially—dumb down. It’s fun to have content like this available for us, or just me, to draw happiness from. It may just be what we call as mababaw na kaligayahan, but it’s happiness nonetheless, and sometimes it’s just what I need after a long and heavy day. When there are movies like Schizopolis (1996), Sorry to Bother You (2018), and Lost Highway (1997) lying around, you really need Barbie movies to keep you levelled.

Renton’s Cycle of Withdrawal

Mark with his “track marks” from heroin use

Trainspotting is a movie that would make us really emotional. It is about a group of young teens trying to get by in life, experiencing everything like growing up and trying to survive in an environment where it is hard for people with less opportunities to survive, to live “a perfect life.” It revolves around a group of friends: Mark, Spud, Begbie, Sick Boy, and Tommy. But the story focuses mainly on the life of Mark Renton (Ewan McGregor).

The movie opens with Mark and his friend Spud running away from guards, while items fall of their pockets. From here, we have a glimpse of what kind of life the characters are living. This is supported by the next scene where the group of friends are introduced and characterized, alongside fast paced music. This kind of supports that the “bad boy” characterization of the main characters. Throughout the movie, we would see the group of friends looking for work, this goes to show that somehow, they want to escape the lives they were living of doing drugs, stealing, and getting in fights care of Begbie. In the movie, we can see the constant conflict of Mark with himself, as he would think about stopping and leaving behind the life of the drug addict, but somehow would spiral down to shooting up heroin again. Props to him, he’s the only one trying to stop, and it is somehow implied that he has tried multiple times but failed because he succumbed to withdrawal. Tommy, in the movie, is portrayed as member of the gang who has his life together. Unfortunately, because of a breakup decides to try heroin and eventually, gets hooked into it. The death of baby Dawn brought the group into their lowest, and I think it was because it seemed that the one thing that was good in their lives, which was baby Dawn, was taken away from them. We can imply that Sick Boy is the dad because of how devasted he is. Mark and Spud gets into custody after shoplifting a store, putting Spud behind bars for 6 months and Mark being pardoned as long as he takes his shots for withdrawal. Craving for another shot of heroin, Mark goes to the apartment of Swanney, their fixer, and almost dies of OD, and is brought to the hospital. It can be implied that ODs usually happen in their area, and how the taxi driver just carries him out of the cab and drops him on the floor. He is later put under room arrest, and during his room arrest, he went through a series of withdrawals giving him hallucinations. This was the creepiest scene in the movie for me, with the baby crawling on the ceiling, his sick friend Tommy, and his best friend, Spud, in chains. When Mark is all better, he decides to visit Tommy, who is on the brink of dying, and eventually does. Usually, when something bad happens, Mark shoots up herion but this time is diffirent because of Diane, Mark’s girl. She convinces him to move to London and escape his life in Scotland, but is followed by Begbie, Spud, and Sick Boy. This is a way to say that Mark won’t be able to escape his life. They were able to score lots of money selling “high quality” cocaine and Mark plots to steal it and escape. When he steals it he is seen by Spud, but lets him go. The movie ends with Spud opening a vault with a bundle of cash for him left by Renton.

This is movie gave numerous emotions. Sad that Mark’s progress of being drug-free was broken, happy that he got to escape the bad influence of this friends and puzzled to why he just left money for Spud and not Sick Boy also, who did not harm him. There are many ways to interpret the ending. Though Mark saying he chooses to live a stable life we cannot really tell he will be able to because he has taste of heroin again and what if, just maybe, he is going through the cycle of withdrawal, designed by Sick boy?

f for fake

F for Fake (1973) is a one of a kind masterpiece made by Orson Welles – an all time cinematic favorite. It is a docudrama co-written, directed by, and starring the man himself. This is a film that features different genres, but in the end considered a film essay – a movie that integrates documentary filmmaking style. Although there is an obvious plot involved, F for Fake revolves around Welles’ way of storytelling. Without him, this movie would not have made as much sense or even been highly acclaimed.

F for Fake features a professional art forger named Elmyr de Hory who recounts his career as the film progresses. It also discusses the authenticity of art. Although F for Fake revolves around the world of art and magic, it mostly lives up exactly to its name – fake.

Besides Elmyr’s story, Orson Welles’ narrates his own story along with hoax biographer Clifford Irving, Howard Hughes, Welles’ companion Oja Kodar, and the movie itself. All in all, there were six stories in parallel with each other, making up one grand documentary. Because all stories were connected and depended on one another, Welles was able to narrate the film, while jumping from different plots, without losing his audience. Also, the structure of the film is similar to one of a magic show. Just like a magic show, F for Fake has its own tricks up its sleeves – surprises, interviews with real forgers, and different event recreations.

Welles focused more on connecting scenes rather than thoughts. This is why each character and storyline understanding were both important in the film. One of my favorite scenes was the film’s introduction. It not only warned viewers of what they were about to watch, but also acknowledged how self-aware the film is about lies, fraud, and facts.

Ladies and gentleman, by way of introduction, this is a film about trickery and fraud, about lies. Tell it by the fireside or in a marketplace or in a movie, almost any story is almost certainly some kind of lie. But not this time. No, this is a promise. During the next hour, everything you’ll hear from us is really true and based on solid facts.
Orson Welles

One of the film’s most emotional scenes, that still holds true to this day, is when Orson Welles is faced with Chartes Cathedral – “a celebration to God’s glory and to the dignity of man”. He talks about how man makes all these grand objects which will serve as a testimony for all mankind’s accomplishments when humanity passes away – “to mark where we have been, to testify to what we had it in us to accomplish”. However, after a few decades, these objects will fade away just like mankind – no matter if triumph, failure, fraud, or fake. Despite this thought, we must still go on creating wonderful things.

In the end, I do not think I would watch F for Fake again, but I do agree this film changed film in itself. It was able to give audience members a glimpse of how the structure of a film essay should go and shaped Orson Welles’ legacy as well.

meant to be

Written by Emerson Enriquez 170819

“They converge and
take shape. They twist, tangle sometimes
unravel, break, then connect again.”

It always marvels me to see how laced up my life is with those of others. As “profound” as that sounds, I am gladly in a state of wonder, and I guess some awe, when I realize how interconnected my life is with those of other people I meet. There are people that once drifted away for a while that I get to “re-meet” in different capacities. On the other hand, some of my closest friends now are people I’ve met only recently, wherein something mutual between the two of us brought us together. Maybe it’s my innate clingy-ness that’s talking, but I hold the relationships I have with those around me very near my heart. Sharing my narrative to others and getting to be a part of theirs are things I always aspire to do.

They say you meet people at a time they’re “meant to meet you”. For Mitsuha and Taki, their time of acquaintance was quite a peculiar one. Mitsuha was that girl from the countryside with strong ties to her heritage, and an even stronger yearning to break away from her rural lifestyle. Taki was that edgy, “indie” guy in high school that laid low with his own posse, delving into creative passions when he can. At first glance, they come off as the typical country-girl-and-city-boy pairing, two different people coming from two contrasting contexts. Funny enough, they literally do come from different worlds. What came as rather a twist in the whole body-swapping narrative was that during the entire situation, they were actually coming from two different time planes, three years apart.

Often when the setting of a narrative is discussed, its he focus almost always on the actual spaces where the events unfold. The film was a prominent example of how time actually plays a big role in creating and sustaining a plot. The story of Taki and Mitsuha literally created a new timeline after a life-diminishing comet struck Itomori, hometown of the female protagonist. The only common window of time that the two consciously share as their individual selves is at a moment of twilight, right before the comet obliterates everything – eventually the two are separated and their memories of each other become faded, before completely being erased. Arguably, it’s a point of debate whether or not Taki writing “I Love You” on Mitsuha’s hand, rather than embedding his own name for her to remember, was the “right” choice. Sweet (and gut-wrenching), but impractical, although then again is practicality the number one priority in their world? Their times of existence are literally split. Years later after Mitsuha completely changes the fate of Itomori by warning her father, the mayor of the town, of what impending doom awaits, a painfully perfect moment of serendipity is what makes the two body switchers meet each other again.

It is in this mix-up of events that the concept of musubi comes in. Hitoha, Mitsuha’s grandmother and overall keeper of Miyamizu traditions, was the only other individual in the film that was in on the whole body-swapping situation. In Shinto terminology, musubi is explained as the “spirit of birth and coming” and “creating and harmonising powers”. The arduous task of knot-tying that she incessantly tutored Mitsuha (and at times, Taki) on represented the essence of what it is; a bridge to the gods, and an amalgamation of the different connections humans experience. This can be something as simple as eating, to more profound features of life, such as time. The flow of time is exemplified in the intricately tied knots. They come together, break apart, but eventually can be reunited. Quite obviously, this can be an allegory to the fates of the two main characters. Somehow, the gods saw it fit that the two of them intertwine, separate temporarily, and eventually find their way back to each other. As cheesy as it is, the ending of the film where the two reconnect is a touching, somewhat triumphant close to the hullabaloo story of two people literally walking in each other’s shoes.

I cried at the end. When Taki and Mitsuha exclaimed “Your name is?” at the same time, it was the fitting , albeit somewhat expected, climax to a movie that takes its viewers to different places simultaneously. The last few minutes of the film, starting from when they encountered each other on two trains going different directions, up until they hesitantly called each other out at a staircase had me cheering for the two star-crossed individuals to finally reconnect. It was such a satisfying, and emotional feeling when they did recognize each other. Honestly, I was in a very vulnerable state of mind when we watched Kimi No Nawa in class, and I feel like that was a “good thing” for a movie like this. Being an animated film, it’s easy to dismiss anything that occurs in it to be “real”, in the terms of the events or the characters. Although the visuals and the story-lines, no matter how fantastical they were, really connected to me, like I felt like I was in both Taki’s and Mitsuha’s situations.

I guess that’s why I busted into an emotional outburst when the credits started rolling. It got me thinking about how much I (should) value the time I spend with those I keep close to my heart. I may never be able to experience their lives in the same capacity Taki and Mitsuha did, but I do realize how interconnected I am with them, and how that in itself is something so precious. It’s questionable if there’s really a concept of perfect timing in this world. The only thing I’m sure of for now, at least, is that the people I’m with now are ones I’m “meant to be” with, right here in every moment that goes by.

GOJIRAAAAA!!

Shin Godzilla is probably one of the OGest movie shown in class. Also, it was interesting because it was the first time I watched a depiction of Godzilla by the Japanese, as all Godzilla movies I watched was produced by America. Godzilla is one of the biggest movie franchises with now more than 15 movies. I think, in a way, this is a nice movie to be second in Sir Ty’s list, because being one of the biggest franchises in the movie industry.

One of the most awaited scenes in each Godzilla movie is the first time we catch a glimpse of the mighty beast. However, the first time Godzilla is seen in the movie was kind of a WTF moment, wherein it jumps out of the water and started crawling, while smashing anything in its way. It was strange seeing THE Godzilla, walking on all fours, not looking cool, but still looks scary as hell. Then as the movie progressed, I understood that Godzilla was evolving throughout the movie, and would start standing on two feet and grow the classic spikes on its back. I think this was the first movie wherein the showed the evolution of Godzilla, because most movies would show the version where he is standing on two feet, already causing havoc. Although, I appreciated how they kind of showed an origin story of it. Throughout the movie, the Japanese had multiple attempts in trying to stop Godzilla, but they weren’t able because of the lasers that came out from Gojira’s back and mouth. There was also a hint of the post American vs Japanese war brought by world war 2, which was kind of funny, because the final if ever the Japanese were not able to contain Gojira, America would drop another bomb. Keep in mind that this movie was released at 2016, years and decades after WWII, which was kind of weird. Though they were able to stop Godzilla, on they own while refusing help from foreign countries, it was quite frustrating and inspiring at same time. Frustrating because the Japanese took so long to act which cause more damage because of so much rules that they had to stick to the rules or laws. Inspiring because despite everything, they did not give up especially when the odds are stacked against them, when Godzilla evolved and evolved and developed lasers out of nowhere, they still kept on fighting and devising plans to stop him.

Despite some weird factors in the movie, like the bomb-trains suddenly jumping and vaulting in the air, this movie would still be a good watch especially to those who are Godzilla fans and also to those who are not Godzilla fans. 7.5/10

you’re all right!

Repo Man (1984) revolved around a great soundtrack and immense character development. Director Alex Cox was a genius for integrating different genres in just one cult film – science fiction, comedy, political, and punk.

Before delving into the film’s characters, I want to commend Cox for his music choice. The sound track, which revolved primarily on 80s hardcore punk, was meant to mirror the punk lifestyle in Los Angeles. Before Repo Man, punk was not as recognized in films with the exception of american comedy Rock n’ Roll High School (1979). Cox’s main goal was to share the story of repo men through music. To achieve this, he began contacted different hardcore punk artists to give justice and add authenticity to the film’s themes. He also wanted to showcase Los Angeles from a different angle. Honestly, this was a risk for Cox because, again, punk was not a common music genre in film. However, in the end, Cox’s choices of songs helped shape Repo Man‘s success.

Unlike other films that are driven by its complex storyline, Repo Man is driven by its characters. From the beginning, director Alex Cox did a great job of setting up Otto as the film’s main character. Although Otto was already punk like, we see that his moral compass is innately better than others. He gets fired from his supermarket job and gets cheated on by his girlfriend with his best friend, but still remains the same. When Bud suddenly recruits him to become a repo man for the Helping Hand Acceptance Corporation, he declines and heads back home. However, he discovers his parents donated his education money to a televangelist who, in the end, is considered greedy. Because of this, he becomes a repo man and turns his life around.

From there Otto enters a life of drugs, violence, and repossessing. Viewers watch as his character develops immensely – how his life transitions from uneventful to too eventful. As he is mentored by Bud and other repo men in the business, we see how he slowly transforms into his co-workers, but with a younger and fresher mind. His style changes from very punk like to corporate detective. We also see a change in his attitude. After becoming a repo man, he is more engaging, social, and open to the world around him.

One notable element to look out for is the contradiction between the first and last scene. In the beginning, we see how Bud tries to convince Otto to drive a car out of the neighborhood. After accepting money, Otto agrees and ends up in an office for repo men or the Helping Hand Acceptance Corporation. However, in the last scene, Otto has finally gained a sense of urgency and courage to command. He does his best to convince Bud to get out of the radiation filled Cadillac.

Would I watch Repo Man again? I honestly do not think so, but I do highly recommend this film into anyone who is interested in diving deeper into the punk lifestyle.

Ra-di-a-tion

Ra-di-a-tion. Yes, indeed. You hear the most outrageous lies about it. Half-baked goggle-box do-gooders telling everybody it’s bad for you. Pernicious nonsense! Everybody could stand a hundred chest X-rays a year! They oughta have ’em, too.
J. Frank Parnell

Repo Man is a 1984 American science fiction, comedy, crime fiction film written and directed by Alex Cox. The plot concerns a young punk rock enthusiast (Estevez) in Los Angeles who finds himself partnered with a jaded agent (Stanton) and is caught up in the pursuit for a mysterious car that might be connected to aliens. Otto (Estevez) loses his job as a stock boy in a supermarket in Los Angeles and spends his evenings in the punk underground before encountering Bud (Stanton) who brings him into the life of professional car repossessing. Meanwhile, a nuclear physicist (Fox Harris) has stolen something dangerous and glowing which he stashes into the trunk of his 1964 Chevy Malibu. The soundtrack is noted to embody the early-’80s Los Angeles punk scene of the time.

Repo Man has the kind of cultural critique that hit almost every area of 80’s American life. However, it had gotten to the point that it became a bit too much. Thankfully, Repo Man’s unpredictable plot, frenzied pace, and delightfully wacky characters, make it a film that is very difficult to resist. The film can sum up 1980s cinema with its goofy effects, rebellious young adults, innovative and creative ideas, and an anti-consumerist message throughout the entire film.

In a comedic sense, Repo Man demonstrates the immaturity of these characters through their interactions with one another. The characters were fully realized but still mysterious and incomprehensible. This made them feel like genuine people and not just characters off a script.

Contrary to expectations, it is very interesting how little Repo Man focuses on science fiction. Aside from a few science fiction interactions and mentions of aliens, most of the film focuses on Otto, Bud, and Lite picking up cars. As a result, Cox uses their interactions to criticize the consumerist culture in the 80’s America.

Although Repo Man did not have the largest movie budget, it did not disappoint. The film was a strange mix made in its time and for its time. However, it surprisingly works despite its rigor. It has something that many films lack, a good and entertaining plot in which Emilio Estevez delivers a powerful role as Otto. It was an original film with an edge of black humor and punk sensibility.

What is Reality?

” Ladies and gentleman, by way of introduction, this is a film about trickery and fraud, about lies. Tell it by the fireside or in a marketplace or in a movie, almost any story is almost certainly some kind of lie. But not this time. No, this is a promise. During the next hour, everything you’ll hear from us is really true and based on solid facts.
Orson Welles

F for Fake is a 1973 docudrama film that focuses on Elmyr de Hory’s accounts of his career as a professional art forger. His story serves as the backdrop for a fast-paced investigation of the natures of authorship and authenticity, as well as the basis of the value of art.

The film opens with Welles performing magic tricks for some children while Kodar watches nearby. Welles quotes Robert-Houdin and says that a magician is just an actor. Welles promises that for the next hour everything in the film will be based on solid fact. Welles then continues to narrate different stories throughout the entire film. In the end, Welles confesses that he had promised everything in the “next hour” was true, and that hour had already passed. He admits that the stories that he narrated after that hour were all lies. He apologizes, quotes Picasso’s statement that art is a lie that makes us see the truth, and bids the audience farewell.

The film was incomprehensible, yet quite profound. It’s a multilayered film with numerous stories all happening at once. It was executed in the form of vignette or montage. All the different narratives are interlocked and combined together to create a sort of platform about counterfeit art, forging, and the question of what art really is, and whether it can have any value at all if it can be reproduced. For all its quirks aside, it’s a richly personal work. The film is breathlessly frenzied montage of differing sources that create the overall film.

Overall, F For Fake is a very interesting film that teaches its viewers about counterfeit art, and fakes and forgeries throughout the ages, and how these are related to the experience of creating and interacting with art. The film Explores the issue of fakes through a number of different characters. There were some key innovative scenes that stand out from the rest. F For Fakeis a very unique viewing experience, Orson Welles consistently ropes in the audience and makes them feel like they are part of the documentary.